小贝克·休斯顿教授是最好的黑人研究的真正代表,因为他有能力把文本理论与非裔美国人社区起源的历史条件连接起来,即非裔美国人虽遭从非洲赶走却通过强调精神与自传来保持其非洲根源。20世纪70年代,他的工作主要关注“黑人美学”起源的探明及定位。他认为,20世纪60年代建立黑人美学的努力不仅是描述性的,而且是积极创造性的,也正因此故,这种努力是基于作家的理想主义并为其所扭曲。在《现代主义与哈莱姆文艺复兴》一书中,贝克质疑黑人批评家所接受的“哈莱姆文艺复兴是失败的”这一普遍概念,随即指出基于欧洲和英美文本的现代主义的概念对于理解非裔美国现代主义并不合适。在《现代主义与哈莱姆文艺复兴》中,贝克也指出了口述文化在黑人美学传统中的重要性。其在1987年的《布鲁斯、意识形态及非裔美国文学:一种口语理论》中不但论述了他的布鲁斯地理学理论及口传文化理论,而且这些观点与后结构主义的发展情况结合起来,以此说明布鲁斯音乐是一个“模型”:一个非裔美国人艺术生产的基础的代码。通过阅读非裔美国作家的主要作品,他提出“布鲁斯地理学”的概念。就种族问题而言,贝克教授对美国社会进步持有极其悲观的观点。 Professor Beckham Houston is the true representative of the best of black studies because of his ability to connect the textual theory with the historical conditions of the origins of African-American communities, that African Americans, expelled from Africa by emphasizing the spirit And autobiography to maintain its African roots. In the 1970s, his work focused on the identification and location of the origin of “black aesthetics.” In his opinion, efforts to establish aesthetics of black aesthetics in the 1960s were not only descriptive but also creative and, therefore, based on and distorted by writers’ idealism. In his book Modernism and Harlem Renaissance, Baker questioned the universal notion of “failure of the Harlem Renaissance” accepted by black critics, and then pointed to modernism based on European and Anglo-American texts The concept is not appropriate for understanding African-American modernism. In “Modernism and Harlem Renaissance,” Beck also pointed out the importance of oral culture in black aesthetic traditions. His 1987 Bruce, Ideology and Afro-American Literature: A Theory of Oral Theory not only discusses his Bruce geography and oral culture theory, but also integrates these post-structuralism developments with This shows that Bruce Music is a “model”: the foundation code for an African-American art production. By reading the main works of African American writers, he proposed the concept of “Bruce geography.” As far as race is concerned, Professor Baker holds a very pessimistic view of American social progress.